A film review: Nicolas Roeg's "Eureka" [1983, UK / USA]

For a long time, it had been fashionable for critics to trash every Nicolas Roeg film made after "Bad Timing". Thankfully, we now have a whole new generation that's not only rediscovering his later films, but also reevaluating them within the context of his entire body of work. "Eureka" (1983), partly inspired by a true story, was the first of his 'later' films to be routinely overlooked due to the changing expectations of a fickle audience.














The film follows the fortunes of Jack McCann (Gene Hackman), a perseverant gold prospector made good after striking it rich in the frozen wilderness of Canada. Split into three distinct parts, the first part of the film is dedicated to McCann's heroic quest amongst the debris of broken hearts and shattered spirits that came seeking fortune before him. The surreal journey he undertakes takes on a mythic proportion as elements of magic and providence are woven into the narrative.

The film fast forwards twenty years into the future immediately after, where McCann is the wealthiest man in the world, watching helplessly as his daughter Tracy (Theresa Russell) falls madly in love and marries a handsome idler named Claude (Rutger Hauer) - he suspects that Claude might have married her only for the money.

Around the same time, Miami businessman Mayakofsky (Joe Pesci) wants to convince McCann into selling his Caribbean island named Eureka to set-up a Vegas-style casino town, with the help of McCann's close associate Charlie Perkins (Ed Lauter), and using his lawyer-sidekick Aurelio D'Amato (Mickey Rourke) as the go-between. He devices dubious methods to obtain the property, but McCann isn't interested in selling it.

The final part of the film deals with the aftermath of McCann's horrific murder and the shoddy trial that ensues when Claude is accused of murdering his father-in-law. Claude argues his own defence by calling in Tracy as a witness, but will learn to his discomfort that Tracy, far from being his 'trophy' wife, was the one to initiate the seduction - it was she who chose him, rather than the other way around.

Tracy defends his innocence by proclaiming his incapacity to hold any true convictions in life, let alone love. Through her courtroom testimony, she also summarises her slain father's life with a surprising insight that will go some distance in completing the portrait of the real McCann behind the adventurer and doting father of the first two parts of the film...

 

Defending "Eureka":
If this event-rich film would've started off as an action adventure, and progressed into a tragedy-filled family melodrama, some critics would've probably been satisfied with its outcome, and perhaps even an Oscar red-carpet would have beckoned if a 'final justice' of sorts for the tragedy had been served.

But this is a Nicolas Roeg film - whose stylised film narrative and surreal moments, briefly interspersed with tantalising, but brilliant glimpses into the psychological, philosophical, and mystical aspects of the human psyche - into reasons behind motives, are as adored and appreciated in films like Walkabout and Don't Look Now. "Eureka" is no different in its approach from his other better appreciated films, and it is baffling to come across arguments that suggest that Roeg could've gone about it differently.

For Roeg, finer details, or even the plausibility of a plot had always been secondary; instead he was more interested in the effect that events have on the characters concerned. McCann is a man of action and very few words, and once his destiny of finding gold was complete, there was nothing left for him to achieve - in his own words, "Once I had it all. Now I just have everything". Hence there was need for a mouthpiece - Tracy in this instance, to elucidate McCann's reasons for struggling to negotiate his remaining days.

There's a reason why twenty years of his life following the gold discovery is not shown. The film is essentially about the leftover part of McCann's life; it is not about seeing him accumulate wealth, get married and purchase whole islands. Also, without going into the details, the cryptic final scene with 'unanswered questions' is indeed typical of Roeg. You're free to interpret and judge the characters appearing in the final scene in your own way; all that Roeg wants to convey is that Eureka "will be given away". Considering the problems the film faced during its distribution, we don't know if the final cut that we see is also the way Roeg intended, but even as it stands, this is an exceptional (and woefully underrated) film by Nicolas Roeg that's Highly Recommended Viewing..!

Amazon Blu-ray + DVD Link
I'm thankful for this excellent Blu-ray release - the copy I had so far was a poorly transferred letterboxed NTSC DVD. It is about time the rest of Nicolas Roeg's films are also remastered and brought back to life for a new audience.

 

The Nudity: Theresa Russell, Rutger Hauer, Emma Relph, and Ann Thornton
Theresa Russell is at her most elegant and sensual self in this film, and also appears nude or partially nude in at least five scenes. For a Dutchman, Rutger Hauer's diction is impressive, and he too appears nude in one scene. Emma Relph and Ann Thornton play wives of colonial British officers who get more than they bargained for after Claude takes them to an outlandish 'voodoo orgy', if ever there was one, where an uncredited actress is also seen trying to swallow or do some harm to a hapless python - bloody expats! :-)



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The difference between looking and seeing: "Central Bazaar" [1976, United Kingdom]

It helps once in a while, to digress slightly from a topic under discussion, if only to return and refocus with a fresh 'eye'. Since this site discusses what may essentially be seen as a voyeuristic pursuit, namely nudity and their context in film, what better way to re-validate its purpose than refer back to Stephen Dwoskin - a US-born British film maker whose lifetime of camera-gaze had sought to articulate everything that can be associated with seeing and feeling, and voyeurism is pretty much on that list.

Artist, illustrator, graphic designer, writer, and film-maker, Dwoskin was an important part of the avant-garde and experimental film scene of the sixties and seventies, a truly 'free' artist who had no qualms about departing from established form and structure. His cinema in particular is renowned for asking pertinent questions to audience concerning what we see and what we fail to see.











Among his works that explore voyeurism and sexuality is "Central Bazaar", also one of his longest features. The film has neither a premise nor a narrative; Dwoskin assembled a group of free-spirited strangers in his place, only expecting from them a willingness to express their emotions and fantasies freely. Dwoskin and his camera would be there to capture them over a period of four weeks.

Among the group, the only one with any discernible acting background was German actress Carola Regnier. Dwoskin's final cut, whittled down from fifteen hours of material to around two and half, might as well be seen as a compilation made from found footage, chopped and reinserted elsewhere as he saw fit. It is one reason the film cannot be compared to "Big Brother" style reality television. Besides, Dwoskin's film is arguably a wee bit more sinister.

We won't know details of what transpired among group members during their four-week commune; how well they got along, the number of break-ups and breakdowns, the darkest and deepest fantasies laid out bare, or their personal history. Barring a couple of scenes, Dwoskin had completely replaced whatever conversation there is in the film with various music soundtracks in accordance with the scene's mood.

Nevertheless, we can safely assume that the group would've got to know each other quite intimately, probably even better than people in their personal lives. Many in the film are frequently seen in a state of undress or under-dress, desperately seeking either acceptance or sexual excitement, and on the verge of stepping into an orgy at any moment. Face masks are in place, and lines are blurred between what they are and what they want to be.

All the time, actors are fully aware that they are being filmed. In scenes where they don't break 'the fourth wall' themselves, the camera itself tries to start a bizarre conversation between the watcher and the being-watched. One where the camera (Dwoskin) persistently tries to capture more than the groups actions by piercing through their tear-stained make-up, pimples, and peer into their very self.

Dwoskin, after enticing the voyeur in us with the welling sexual tensions within the group, takes away our ability to dictate proceedings by empowering his subjects to perform on their own terms. The camera moves, not necessarily to offer a 'better view' of what we like to see, but to what the director thinks we might probably be overlooking. Towards the end of a testing two and a half hours that occasionally take on proportions of an endurance, we not only feel awkward for entering into someone's personal space, we are also left emotionally drained. It's plain that we were not merely looking at them passively all this time.

In a way, the film can be seen as an extension of themes that Dwoskin had been working in shorts such as 'Girl' and 'Trixi', that in turn vaguely remind us of Chantal Akerman's earlier 'New York' series of films. A more articulate write-up on Stephen Dwoskin's life and work can be found in the BFI magazine archives. "Central Bazaar" is highly experimental and raw for mainstream tastes - it requires one to forego many preconceptions about cinema before sitting to watch it, but if you're curious about the subject of voyeurism, the film is Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Maggie Corey, Marc Chaimowicz, Carolyn Rogers, Libby Spry, Eddie Doyle, Mike Flower, Iggy Evelyn Joyce, and others
The actors - both male and female, are frequently seen in the nude, and some of the scenes are also fairly explicit. Flashy reds, painted bodies, generous body hair, and oriental chicks - now that's as Seventies as London gets..! :-)



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Victims of war - "In Tranzit" [2008 UK, Russia]

Tom Roberts made his feature film début with the post-war romantic drama "In Tranzit", a UK-Russian co-production starring an international cast that included recognisable names such as John Malkovich, Thomas Kretschmann, and Vera Farmiga. The story is apparently based on true events that happened during the winter of 1946.




A rag-tag group of German prisoners of war are brought to a Soviet transit camp in Leningrad run by female guards, many of whom have incidentally had their family members slaughtered earlier by the Nazi army. The women understandably display some hostility towards their prisoners.

Apart from resident doctor Natalia (Vera Farmiga) and the young cook Zina (Natalie Press), who see them as human beings. But Colonel Pavlov (John Malkovich), overseeing the operation, had also entrusted Natalia with the task of identifying SS guards mingling with assumed names among regular soldiers, in order to prosecute them for their war crimes. In return for her cooperation, Natalia is allowed to keep and look after her shell-shocked and disoriented soldier-husband Andrei (Evgeniy Mironov), rather than sending him off to a 'correction facility'.

Among the prisoners are Max (Thomas Kretschmann), and his former student Klaus (Daniel Brühl), and it is Max that Natalia particularly warms up to - a fact that also doesn't go unnoticed by Klaus. He persuades Max to take advantage of her fondness and also tries to convince him to disclose some SS men within the group to her, so that they could have a much more easier time there, but Max doesn't agree to the scheme.

A tentative but doomed romance blossoms between Max and Natalia, and they end up having a one-night stand after a ball held for prisoners and local women. They'll soon need to separate, after an amnesty and repatriation of prisoners of war is agreed between Soviet Union and the Allies.

The film, shot with a documentary-eye, aims to cast a compassionate glimpse into the healing process between enemies after a devastating war. The beautiful cinematography is reminiscent of watching an István Szabó film, and performances by all the main cast are flawless. What it suffers from though, and part of the reason for the film's relative obscurity, is the indifferent screenplay (and script) - the actors are expected to accomplish a lot with minimal material, and it shows in the way it is edited. Some goings on are not explained properly, for e.g., why would a group of women come chasing prisoners after a few dances at the ball - are they so easy that they could ignore the atrocities committed by them during the war, that also led to their husbands and sons getting killed? The film may have its virtues, but unfortunately fails to capitalise on them - it could have been infinitely better.

Amazon Blu-ray Link

 

The Nudity: Vera Farmiga and Natalie Press
In a scene, Natalie Press, as Zina, is humiliated by Pavlov, when he forces her to strip in front of everyone, upon overhearing her joking with one of the prisoners. The other instance is during a moving sex scene between characters played by Vera Farmiga and Thomas Kretschmann.



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Life and friendship: "Career Girls" [1997 UK]

Mike Leigh's deceptively titled "Career Girls" might lull you into believing it to be easy viewing, with a sweet and fairly simple mainstream plot, but this ridiculously overlooked film has more layers than your average puff pastry.

Granted, there are some contrived moments and a bit of overacting here and there, but they greatly help us in exploring the relationship between central characters Hannah (Katrin Cartlidge) and Annie (Lynda Steadman) - former room mates from college six years ago. Having settled reasonably into their professional lives, they meet again over a weekend in London, and their past story is retold using intermittent flashbacks. When Annie first met Hannah in answer to an ad calling for a room mate with g.s.o.h, little did she know that she'd really need one - Hannah was a tense young woman with a lot of pent-up rage, whose searing - almost abrasive quick-witted remarks would put people off from even approaching her. Annie herself was hopelessly insecure, with a constant twitch and a crusty dermatitis-afflicted skin covering half her face. Ever submissive, her head slanted away from people in desperation to avoid eye contact. And yet, they stuck it out for four years in their grungy apartment on top of the Chinese takeaway.

Gone now are Annie's twitches - a lot more self assured, she's also devoid of any signs of her past skin affliction. Sharply dressed Hannah too is a pleasant departure from her younger unkempt self. A whole lot more calmer, she's also mindful of other people's feelings these days. But their reunion starts off rather awkwardly, with forced small talk and uneasy silences in between. The chillness in the air departs after Annie accompanies Hannah on an adventure across town with the ruse to view properties for sale. They meet characters from their past who sometimes even fail to recognise them, and as much as they bring back memories, they will also distinguish people who've made it from those who fell by the wayside. It becomes clear that while Hannah and Annie may have not kept in touch all these years, they'd invariably influenced each other without them noticing - and that they'll always share a unique bond - a deep trust, and acceptance of each other as they are, that neither time nor distance will diminish. In meeting up, they had just strengthened that valuable and life-affirming bond...

As with any Mike Leigh film, it's not the message, but the route it takes to be delivered that matters. The characterisation is what makes this film so special, and the sensational performance by late Katrin Cartlidge as Hannah, and the endearing portrayal of Annie by Lynda Steadman (making her film-début) combine to make this an engrossing character study on people and friendship. The dialogues, replete with highly inventive and sharp-witted one-liners, may not leave us in fits of giggles, but will help us swallow some bitter truths, and appreciate what we've so far achieved despite falling short of our own expectations. This reflective and woefully underrated Mike Leigh classic is Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Katrin Cartlidge
The few seconds of a topless Katrin Cartlidge gives me an excuse to write about the film. Not often have I wished a film had lasted a bit longer - this one did, engaging us even if nothing much happens in it. The aforementioned scene occurs after Hannah has sex with a lazy, skirt-chasing, and obviously handsome Adrian (Joe Tucker) - one that Annie too fancies.



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A review of Michael Winterbottom's "I Want You" [1998 UK]

Michael Winterbottom's haunting melodrama "I Want You" is one more of his underrated works. For a British film set in coastal Kent and Sussex, it bears a distinctly continental flavour.

Storyline:
Having served eight years for murder and released on parole, Martin (Alessandro Nivola) returns to his home town and attempts to reconnect with former sweetheart Helen (Rachel Weisz), who was fourteen when she last saw him. He stalks her unseen at the beginning - Helen, now a hairdresser, is courted by local radio DJ Bob (Ben Daniels) for the last six months. We're also introduced to mute fourteen year old Honda (Luka Petrusic) and his protective adult sister Smokey (Labina Mitevska), after Honda gets knocked down by Helen in her bicycle. The siblings - refugees from the former Yugoslavia, have no parents and live in a seaside cottage. Honda has the strange habit of listening to and recording from a distance conversations of people who interest him, which includes her promiscuous sister and her sexual activities - it doesn't seem to concern her too much, and the siblings are also shown comfortable naked in each other's presence.

Honda develops a crush on Helen and begins recording her activities too, who in return will endear herself to her young admirer despite his questionable, yet somehow innocent hobby. Martin will confront Helen, and their relationship will resume from where it left off, much to parole officer Sonja's (Geraldine O'Rawe) dismay. She dissuades him from contacting Helen and asks him to leave town if he's to avoid being sent back to prison. It is only through her associating Helen with Martin's conviction, do we become privy to their collective connection with his crime. Helen's façade of a demure and simple woman comes crashing down from then on, and Honda unwittingly bears witness to disturbing events that'll unfold in front of him...

Analysis:
Made immediately after his critically acclaimed Welcome to Sarajevo, Winterbottom retains a Balkan connection with the film, alongside his collaboration with young Yugoslav-born Labina Mitevska - currently a prolific and respected actress in European cinema. It was also early days for the Academy and BAFTA awarded Rachel Weisz, whose character exudes a latent but dangerous sexual energy that'll attract men's attention, sometimes violently. She'll become a major international star following her next film (The Mummy). Alessandro Nivolo, and Graham Crowden who appears in a minor role, were perhaps the only recognisable names among the cast at the time, and these may have been factors that contributed to the film's relative obscurity. The performances nevertheless showcase their potential, and anticipates their future stardom. Young Luka Petrusic deserves a special mention, not only because it is his character (Honda) that threads through the other characters in the film, but also for stealing a march over other actors with his charm - quite unusual for a lanky teenager of that awkward age - and I'm sure most males will agree with me on this.

But the film also has other virtues waiting to be uncovered, like the association of each of the main characters with a colour-coded palette - green for Martin, blue for Helen, and yellow for the siblings - reflecting their nature and outlook. Small wonder that the cinematographer also happens to be Slawomir Idziak - a Krzysztof Kieslowski regular who'd collaborated on memorable classics such as The Double Life of Veronique and Three Colours: Blue. The screenplay could have been better, but Winterbottom's imaginative direction delivers, by creating an atmosphere that keeps the audience engaged, and also by offering a surprise ending. Like most of Winterbottom's early films that require an upward reassessment, this film too is Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

The Nudity: Labina Mitevska, David Fahms, Dee Dee Menta, Alessandro Nivola, and Rachel Weisz
The nude scenes will interest both men and women since they're positively erotic without necessarily going overboard. It also includes a rare instance of sensual nudity from a black male (David Fahms) - it is unfortunate that an actor's race require mentioning in this blog, but I need to on this occasion, because whenever black characters are depicted nude in mainstream films, it's usually under duress (enslaved), or in distress (tortured). There is also rare frontal nudity from an exquisitely beautiful Rachel Weisz and a nubile Labina Mitevska. Dee Dee Menta appears nude as stripper Maxine who Martin engages. There is also partial nudity from an uncredited actress at the beginning of the film.



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Nudity in "Nightwatching" [2007 United Kingdom, Netherlands] BR1080

Peter Greenaway's film "Nightwatching" dramatises a time in the life of the great Dutch painter Rembrandt van Rijn; the circumstances surrounding the creation of one of his most famous works, The Night Watch - a colossal military group-portrait of the Amsterdam Civil Guards.

Peter Greenaway:
Few may require introduction to British writer-director Peter Greenaway - even though none of his films have exactly been box-office draws, he is widely known (and regarded) among a particular generation worldwide for his spectacular films loaded with cryptic messages and stunning imagery that will more often than not, provoke, and challenge an audience. His early films had a preponderance of sex, death, and decay, alongside the habit of inviting viewers to participate in his number and word games. In terms of artistic leanings, Greenaway, a painter himself, would be completely at home in Renaissance or Baroque Europe - his frames are often carefully lit formal compositions, as if trying to bring to life grand canvases from those old masters, and even his tracking shots give the feeling of walking past lined up paintings in an art gallery. However, Greenaway is not for a casual viewer as there's always an air of the macabre lurking in his films, and even ardent fans would agree that it would be a challenge to sit through a second viewing.

 




About the film:
It is a fictionalised interpretation of Rembrandt's (Martin Freeman) life, relationships, and business dealings during the painting of The Night Watch, a commission that he's also shown to have undertaken reluctantly. It was also around the time when his son Titus was born, contributing to wife Saskia's (Eva Birthistle) untimely death. The painting is also considered to contain hidden clues to the death or assassination of a young officer, one which Rembrandt, for various reasons, cannot openly mention. His wife's death affects him, but he will embark on a brief relationship with Geertje (Jodhi May), Titus' wet-nurse, and later with the much younger maid servant Hendrickje (Emily Holmes).

The film is magnificently made with Greenaway's customary detail. Unusually for Greenaway, this is also a traditional melodrama where ample time is allocated for characterisation, and even though he doesn't touch on other things happening at the time like the plague, he delves considerably into the master-servant dynamics of the time, some of which are disturbing truths that need to be told. This is a traditional film, with fine performances by the main cast, and several trademark Peter Greenaway features - this would form an ideal introduction to someone who's just beginning to explore his work. Recommended Viewing..!

Amazon DVD Link [PAL] | Amazon Blu-ray Link

 

The Nudity: Jodhi May, Martin Freeman, Fiona O'Shaughnessy, and Emily Holmes
As with any Greenaway film, there are several instances of male and female frontal nudity from the main cast.



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Ratcatcher [1999 United Kingdom, France]

Scottish director Lynne Ramsay made an outstanding feature-film debut through the social drama "Ratcatcher". The film won numerous awards including a BAFTA for the most promising newcomer, but Ms. Ramsay was merely following a long tradition of British social realism that dates at least as far back as Charles Dickens, alongside some other fine film makers working today such as Ken Loach, Danny Boyle, and Mike Leigh.

Set in a mid-seventies Glaswegian council estate during a dustmen strike, we watch children kill their time either playing in the nearby polluted canal, bullying whoever they could, or hunting for rats among the piles of garbage that lay unattended for weeks. One day, twelve year old Ryan (Thomas McTaggart) and neighbour James (William Eadie) get into a play-fight by the canal, and Ryan drowns. Young James will find it difficult to cope with the event, reflected through his behaviour towards his parents and sisters henceforth. But despite their frictions, the one thing everyone in his family root and pray for, is to be allotted a council flat in a modern housing estate that's taking shape in the outskirts of the city - everyone wants to escape the squalor of their living conditions. James tags along the older boys who periodically take turns abusing local girl Margaret Anne (Leanne Mullen), a bespectacled girl desperate to be accepted among the group. Even though she's slightly older than him, James strikes up a rapport with her, and possibly even falls in love. He becomes friends with another neighbour, the slightly eccentric Kenny (John Miller), and their friendship is one of the bright spots in an otherwise bleak film. The army is finally brought in to clear the rubbish, and some lucky families also begin moving out of the estate, but will there be a similar redemption for James and family...

The film may be a comment on the depravity in inner city council estates, but it also has additional layers. It is a commentary on the politics of the period the film was set against. The promised better life wasn't within reach of everyone, and their fate are likened to that of the lucky-draw through which newer apartments are allotted to families in the film. It is also a beautiful observation of children growing up in less than ideal surroundings, and it is refreshing too because it is from a woman's viewpoint.

Behind the grime and the slum-like surroundings, we see not only people's little flaws, but their spirit and kindness too - nothing is black and white as it may appear from afar, and this is where the film triumphs. The characterisation and dialogues are remarkably thoughtful and well conceived for a young director making her feature-film debut. It must have been daunting for Ms. Ramsay to live up to the huge expectations after its critical success, but to her credit and our joy, has continued to make several insightful and unique films since. I couldn't help sharing a brief scene as imagined by James, when Kenny releases his pet mouse Snowball in the direction of the moon by tying it to a balloon. The scene lightens the sombre mood during an otherwise important passage of play...

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Performance-wise, all the main cast are universally convincing, despite the fact that several of them are not professional actors. Like young Kenny (John Miller), one of my favourite characters in the film who lightens up proceedings with some dry but unintentional humour. Ms. Ramsay's daughter performs in the film too, as James' little sister Anne Marie. This is a British film classic, it is 'real', and Highly Recommended Viewing..!

Amazon.com DVD Link [NTSC]
This Criterion DVD is my recommendation, not only for its transfer, but the extras, including the director's engaging interview, and her three short films made earlier.

 

The Nudity: Leanne Mullen
There is candid scene in which James joins Margaret Anne in the bath after grooming her hair, a scene that's also discussed by the director during the DVD interview.



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Washing away 'sins', and entire lives - "The Magdalene Sisters" [Ireland, UK 2002]

A recent news story concerning state-collusion in Ireland's Magdalene Laundry system was a grim reminder of the depths to which humans could descend to, when bigotry is infused into religion. As appalling it is to read accounts of the enslavement and abuse - physical and sexual - of these 'fallen women', in supposedly emancipatory institutions, it is nevertheless brought to life in chilling detail, in Peter Mullan's award-winning 2002 drama, "The Magdalene Sisters".

What is all the more shocking is that these laundries were fully operational until as recently as 1996, and even then, they were shut down not so much due to moral compulsions, but rather for economic reasons - with changing mores and widespread use of washing machines, these laundries had ceased to be profitable, and even regular institutional customers like the army had stopped using them. Those interested in further reading on the Magdalene laundry system may start from this wiki-link.

Storyline:
Set in the 1960's and inspired by true events, the film follows the fate of three young women, starting from their induction into a Magdalene laundry. The first to arrive is Margaret - she'd been raped by a cousin, and her parents decide to send her here in order to protect their family's reputation. And for bearing a child out of wedlock, young Rose is cruelly separated from her newborn, and also dispatched to the asylum. The third one to arrive is Bernadette - brought up in an orphanage - her only 'sin' was being attractive, and by inference, liable to induce lecherous feelings among men. None of them though, are aware of what lay in store for them at the asylum. They will soon enough realise that they're nothing more than slaves, prevented from communicating with each another, and forced into hard labour at the laundry, devoid of any civil rights. They could be held there indefinitely until a relative offers to take them back. They notice that many have been languishing there since childhood, systematically abused by priests and nuns - physically, emotionally, and sexually. Margaret, Rose, and Bernadette fortunately find a happy end to their misery, but many inmates won't be so lucky...

It may be one of the more distressing films you're likely to see, but it is also one of the most thought-provoking and moving of films, well performed by all the principal actors, notably veteran actress Geraldine McEwan as the cold-hearted matron, Eileen Walsh as the terribly unfortunate inmate Crispina, and Dorothy Duffy as the forcibly separated mother Rose aka Patricia. The film pulls no punches in pointing out the failings of an institution which was originally conceived with a manifest for rehabilitating prostitutes (a la Mary Magdalene), but which hitherto extended its mandate to also include unwed mothers, flirtatious women, and even young girls who were simply deemed 'too' pretty. But it isn't particularly critical of Catholicism itself. It is nevertheless an important film, reminding us that good intentions can easily and even unintentionally degenerate into cruelty and outright nastiness. Highly Recommended Viewing..!

Amazon DVD Link [PAL]
Apart from the film, the DVD also includes a documentary titled "Sex in a Cold Climate", featuring revealing interviews from some of the former inmates themselves. Definitely worth checking out.

 

The Nudity:
Nora-Jane Noone, Dorothy Duffy, Anne-Marie Duff, Eileen Walsh, and others
The only nude scene occurs in the middle of the film, where two nuns line up asylum girls and start humiliating them, by poking fun at their physical attributes. It isn't particularly a pleasant scene, and is made all the more disturbing with the knowledge that it is based on a true account. Some of the girls featured here - Bernadette, Patricia (Rose), Margaret, and Crispina - also happen to be the main cast, played by Nora-Jane Noone, Dorothy Duffy, Anne-Marie Duff, and Eileen Walsh respectively.



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Mathilda May in "LIfeforce" [1985 United Kingdom]

Of course, this isn't news and it has nothing to do with the recently completed Mayan 'Baktun' - only MGM's 1980's attempt at adopting for film a sci-fi novel named The Space Vampires. While Tobe Hooper's offering, fresh from Poltergeist had to be taken with a large rock of salt, the film has nevertheless gained cult status and over the years inspired the likes of Species and others.

While it has some quaint touches and big names involved in its production, the film will most definitely be remembered for a nineteen year old French starlet making her film debut - the wholesome and breathtaking Mathilda May. At least they got that part of the casting right, although I'd have preferred to have seen Peter Cushing instead of Patrick Stewart as the director of the insane asylum. At least you get an idea of what we're talking about here - a sci-fi horror flick with vampires and zombies to boot.

Storyline:
A joint team of British and American astronauts aboard the space shuttle Churchill encounter an organic 150-mile long alien spacecraft as they approach to explore Haley's comet (their mission). Instead of minding their business, the crew venture into the craft and decide to kidnap three naked human-like aliens held in a state of suspended animation, one of which is the delectably well preserved Mathilda May. A burnt-out Churchill makes it back to earth's orbit sans the astronauts, but the three aliens still remain in rude albeit suspended health. They will be transported to earth, and eventually London thanks to the Americans' spare shuttle Columbia. It will eventually dawn on Whitehall that what they have in their hands is a full-blown alien invasion in the form of a naked woman spreading a contagion of vampiric tendencies among the populace of London by first converting them into zombies. Its up to a surviving American astronaut and a SAS officer to save London (and the world, naturally), which they do in true 1980's fashion.

Like I said, the film has to be taken with more than a pinch of salt, but if you get over the daftness of the plot and its dated special effects, there's some entertainment to be had, and of course, the well proportioned Mathilda May to feast your eyes on.

 

Amazon DVD Link
This is a bare-bones letterboxed DVD (PAL) with only the film's trailer counting among the extras. Heck - what more can you expect for the silly money it's selling for.

 

The Nudity: Mathilda May, and briefly Peter Firth
Most of the nudity happens at the beginning of the film, perhaps giving the impression that there is more nudity than there actually is. The film is also ridiculously coy with regard to male nudity even if there are twice the number of males among the invading aliens. And Mathilda May appears in full frontal glory for barely a few seconds. The rest is down to some clever editing that gives the impression that she's nude for the most part of the film.





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Georgina Hale in Ken Russell's poetic "Mahler" [1974 UK]

Ken Russell had never been stranger to controversy, he revelled in catching critics and audience off guard. He confounded critics yet again during the peak of his notoriety by making one of his most restrained and poetic of films. Whether or not we are a fan, Ken Russell's "Mahler" - a commentary on Austrian composer Gustav Mahler's life and work, will be seen by many as one of the most imaginative biographies attempted in film.

The first time I even heard of Mahler was through an earlier Visconti classic, "Morte a Venezia" - my ignorance in classical music was deep. "Mahler" went some way in igniting my interest in a music that I hitherto considered bourgeois, thanks largely due to Russell's interpretation. The film however is not just about Gustav Mahler, but also his wife Alma, whose inherent talent was overshadowed by her husband's. The film narrates most of Mahler's life through his reminiscences during a train journey with his wife back to Vienna. His torments and nightmares are shown as a consequence to his single-mindedness, insecurities, jealousy, and guilt.

To say the film is exquisitely made is an understatement. Possibly inspired by the exquisite art direction in the aforementioned Visconti film, Russell goes further by recreating various periods during Mahler's lifetime in meticulous detail. His creative choice of symphonies for passes of play is a result of a deep understanding of the composer and his music. Just as well - if a man knows his composers, it's got to be Ken Russell - he'd already been making films about them for a good many years. The cinematography and particularly the editing couldn't possibly be bettered. The impeccable casting of and performances by Robert Powell and Georgina Hale as Gustav and Alma Mahler respectively are quite impressive and totally engaging - Ms. Hale also won a BAFTA for her efforts. In summary, this is a well-conceived story, beautifully filmed and presented by a gifted director with an image problem. This may not be Ken's finest work (for me it will always be "The Devils"), but is nevertheless a movingly soulful and analytical work from the British master, and therefore Highly Recommended Viewing..!

Amazon DVD Link [PAL]

 

 

Compilation: Georgina Hale and David Collings
The film subject's severity is toned down in places through some outrageously comical sequences, like during Mahler's conversion to Catholicism, and my favourite - Mahler having a nightmare of being cremated alive while Alma, still in mourning robes, flirts with would-be suitors.



Scene Guide:

• Mahler always feared his wife might one day emerge into prominence. In this dream, his insecurities take shape in the form of Alma emerging from a cocoon. Alma is portrayed rather well by Georgina Hale.
• After a period of illness, thoughts about his own death occur frequently - in this instance, he sees Alma as wasting little time in cremating him and choosing a new partner - even before he's actually dead..!
• A brief scene of Mahler visiting friend-composer Hugo in an asylum. Hugo is played by David Collings.

 



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Katrin Cartlidge in Mike Leigh's "Naked" [1993 UK]

On the eve of the London Olympics, and walking amidst the sea of union flags, nervous commuters, and hysterical BBC presenters who've by now pitched tent in every corner of town, it is not difficult to come across a noticeable outpouring of exuberance around you, quite unusual for 'normal' British behaviour. Don't get me wrong, actually, I'm one of those really glad to have the games here, and would even love to see F1-racing through Charring Cross Road. Of course, I don't really need to commute for work, nor do I physically need to visit the area to trade, much like some of those planning the event. I'm grateful as it is that they didn't pack us all out of town like they did in Beijing. Besides, where there is chaos, there's also chance of having some fun, and I have decided to embrace this chaos. Why else do you think the British are renowned for their sense of humour!

Works by British director Mike Leigh manifest this cherished sense of humour, he is after all one of Britain's finest and inquiring film makers working today. His brilliant nihilistic drama "Naked" set a new standard for Danny Boyle and others to follow, in its depiction of gritty realism infused with sharp wit and a healthy dose of social satire.

Storyline:
It is actually not that relevant but here it is anyway - unemployed Mancunian Johnny arrives at ex-girlfriend Louise's shared flat in London after getting himself into trouble back home. Johnny is introduced to her outrageous 'wicky-wacky' flat mate Sophie, and before long they hit if off. The following day however, he's had enough of both the women and walks off into the night - his walkabout will take him past some unforgettable characters and situations among the remnants of Thatcherite Britain. He momentarily crawls back to Louise and Sophie's flat after being beaten black and blue by some local thugs, and gets to meet their well-off landlord Jeremy who'd dropped by ostensibly to collect 'rent arrears'. Throughout the film, we'll see a constant comparison of these two characters - not quite dissimilar in the way they treat women, but while one's is out of arrogance, the other's is out of alienation, and it is the alienated Johnny who we will feel empathy for.

Watching this film is like opening the manhole of a blocked-up sewer - it will hit you with a blast even if you're aware of what to expect. And I mean it in the best possible way, because it ultimately has a cleansing effect. It is ugly, bitter, and at times unpleasant, but it is also incredibly moving and a keenly observed study of relationships using humour. It is cinema, pure and beautiful. David Thewlis who plays Johnny is sensational, delivering a complex character with all its flaws and vulnerabilities quite magnificently. Lesley Sharp as Louise revels in the understated irony of her character, and Katrin Cartlidge who plays Sophie is the perfect foil to Thewlis' bitter rantings. It is a shame that Ms. Cartlidge, a talented and gifted actress passed away at such an early age. As for Mr. Thewlis, remarkable as he is in this film, he is at times upstaged by Ewen Bremner (Trainspotting) who plays a frantic Scot that Johnny befriends during his walk across the city. Some of the scenes will stick with you for a while, and some scenes you will love to watch them again. A fine director's masterpiece, Mike Leigh's "Naked" is Highly Recommended Viewing..!

Amazon DVD Link

 

Compilation:
Katrin Cartlidge, David Thewlis, Elizabeth Berrington, and Deborah MacLaren



Scene Guide:

• Sophie and Johnny decide to have some fun, excellently portrayed by Katrin Cartlidge and David Thewlis respectively - some witty lines also included.
• After Jeremy is put down by his date at a restaurant, the frustrated man takes home eager waitress Giselle. I somehow don't think she'll remember him fondly after that evening. Giselle is played by Elizabeth Barrington, and Jeremy by Greg Cruttwell - he tries to be as menacing as a Malcolm McDowell, but alas he also has the weakest of lines in the film.
• A long scene of Johnny with a mature beautiful woman he first noticed by a window. It isn't dialogue-heavy, but is still one of the most moving scenes in the film. The woman is played by Deborah MacLaren.
• This scene between landlord Jeremy and Sophie is unpleasant and made all the more shocking by Sophie's feeble response to what just happened to her. Louise, in many ways the film's conscience, is finally made aware of the facts.

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Suzanna Hamilton in "Nineteen Eighty-Four" [1984 UK]

I have seen only three films of BAFTA winning director Michael Radford, of which his 1984 adaptation of George Orwell's "1984" is undoubtedly the best. I've yet to see his more acclaimed "Il Postino" though, and my opinion might yet change after viewing it.

"Nineteen Eight-Four" however is one of the more faithful adaptations of a novel I've ever seen - even if a few chapters and events are skimmed past (understandable), it vividly captures the tone, atmosphere and message of the novel in all its muck and glory, just the way you imagined it while reading the book. I believe that's partly because Radford doesn't treat the work as science fiction even if ironically that's the way Orwell intended. The screenplay and production design portrays this more as a political satire set during a proto-cold war period - i.e., just after the second world war, with its then technology and know-how - the time when Orwell actually wrote this novel. The casting of the main characters couldn't have been any better - the choice of John Hurt, Suzanna Hamilton, and Richard Burton (this was his final film) incredibly fit their respective characters to a dot. The cinematography and lighting is imaginatively thought out with some interesting camera angles and colours to capture the utter despair and foreboding. Add to that, we have an atmospheric soundtrack by Dominic Muldowney (and Eurythmics) that give the film added gravitas. As a literary interpretation and a piece of cinema, this is an unqualified triumph for Michael Radford and therefore, Highly Recommended Viewing..!

Amazon DVD Link




Storyline: (For those who've yet to read the book)
After a third (atomic) World War, the world map changes radically - now made up of three authoritarian superstates, Oceania (of which Britain and the Americas are part), Eurasia (continental Europe and Russia), and the more recently formed Eastasia (China, India and others). The story takes place in Oceania, ruled by the mysterious 'Big Brother' (BB), where Winston is a civil servant in the Records department of 'Minitrue' (Ministry of Truth - among other things it monitors and decides what gets published, and in what form). He meets Julia, from the 'Porno Section' of the Fiction Department during one of their daily collective 'Hate' gatherings, falls in love, and embarks on a secretive affair. Or so he thought - for he should have known, BIG BROTHER IS WATCHING!

By the way, George Orwell's "1984" is essential reading for everyone, no matter what their political leaning. It is also well written, thought provoking, and compelling, tinged with the sense of encroaching horror. If you haven't read it yet, it's about time you did!




Compilation: Shirley Stelfox and Suzanna Hamilton
There is a practical and symbolic necessity for nudity in this film, Julia and Winston are often shown together in the nude - clothed, they are nothing but comrades in the machinery called Oceania.



Scene Guide:

• Winston had just started writing a diary in secret, and reminisces an encounter with a prostitute in the 'proletarian' quarter. Winston is excellently portrayed by John Hurt and the prostitute is played by Shirley Stelfox.
• One of Winston's visions of the dark haired girl he recently met - Julia. True to the novel, she sheds her clothing as she approaches, including the red sash which is a sign of someone who belongs to the Anti-Sex League, meaning - they're celibate. Julia is convincingly played by Suzanna Hamilton - I'm still amazed how well she fits the description in Orwell's book.
• Julia and Winston's first 'date' in the woods, away from Big Brother's watchful eyes...
• Winston rents a room in the proletarian quarter for their rendezvous.
• Winston is ridden with guilt concerning his mother - here he has a recurrent dream while in bed with Julia.
• Good things can't last for ever. ‘Here comes a candle to light you to bed, Here comes a chopper to chop off your head..!’

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Scenes from Michelangelo Antonioni's "Blowup" [UK, USA, Italy 1966]

"Blowup" [also known as Blow-Up] was a turning point in the great Michelangelo Antonioni's career. After a string of critically acclaimed Italian classics, he was offered the opportunity to work with MGM on three English language films - "Blowup" being the first and the most successful, unfortunately for the wrong reasons, more of which in a moment. What marks this a turning point however is that after his return to Italian cinema after these, he will never be as prolific as he used to be before worldwide acclaim. His projects grew few and far between, even whilst his genius remained radiant as ever.

Adapted from a short story by Julio Cortázar, Antonioni developed the screenplay further to experiment with an array of philosophical themes. Prominent among which is the perception of reality. What is real, and when does it become 'accepted' as real. Is seeing believing, or isn't that enough, even with photographic evidence. Does everyone have to create their own reality. Another concept is his trying to define 'value' - the fact that things taken out of context loose their value and purpose (a bit like the compilations in my posts - oops, sorry couldn't resist that :-)) is demonstrated time and again. There's also his pet themes like urban alienation explored through a different angle using characters that conform mechanically to fit in an environment.

All these themes are woven into events during a day in the life of Thomas, a mod and fashion photographer in London during the swinging sixties. We don't know much about Thomas, he isn't particularly likeable even, but he grows on us as we get to see things from his point of view. We can see Antonioni is critiquing his protagonist but at the same time is fascinated by him, along with the glitz and glamour of his world. His world is one of attractive women throwing themselves at his feet, of drugs, parties, and rock and roll, which we get to sample intermittently through the film. And it is the documentation of these facets of Thomas' world that was the cause of much controversy - scenes like these, though tame by today's standards were not shown in film until then.

The very thought of this film being produced by MGM is incredible to say the least - they don't usually make this kind of stuff. And mainstream film or not, Antonioni nevertheless dishes out bitter-pill ideas, cunningly sugar-coating it with glamour and sex. The audience bought it too, and it apparently did well in both the US and UK. The film itself is exquisitely done. Antonioni narrates this like a stylish thriller, and gives his protagonist a purpose by allowing him to believe that he was an inadvertent witness to a murder. But the protagonist is merely part of the backdrop to what Antonioni tries to tell. It is a treat for any film-lover to watch, as there are some glorious Antonioni moments thrown in - you know you're in one when there's barely any sound let alone music, perhaps just the rustling of leaves in the breeze, or the occasional footsteps, with characters performing tasks that would normally seem too mundane to notice even - but absolutely riveting stuff in the hands of the master. And the well-rounded technical team involved in cinematography, set design, music, and editing, and the superb well-known cast aid Antonioni create this gem of a film by capturing a moment from the sixties like few others. Needless to say, this memorable film classic is Highly Recommended Viewing..!

Amazon DVD Link
(Recommended PAL edition DVD that contains an insightful commentary)




Compilation: Veruschka von Lehndorff, Vanessa Redgrave,
Jane Birkin, Gillian Hills, and Sarah Miles
Not all scenes contain nudity, but by and large blog-related, they're barely clothed anyway.



Scene Guide:

• Thomas going through the motions taking pictures of these stylish yet grotesque models - we will also learn he's not a particularly charming man. The first shoot is of supermodel Veruschka von Lehndorff, and we can see how Antonioni likens it to a sex session.
• "Can I have the film please..." pleads a vulnerable looking Jane - she is willing to do whatever it takes to get it back from Thomas - the film roll containing pictures of her with a lover in a park. Vanessa Redgrave looks gorgeous as the distressed Jane.
• Some respite from a hard day comes in the form of a brunette and a blonde, eager to get their pictures taken by the famous Thomas. And we will see the 'birds' are game for anything. The blonde is played by an up-and-coming Jane Birkin complete with her London accent, and the brunette by Gillian Hills.
• No nudity but inserted it purely for the lovely Sarah Miles who plays Patricia - she gestures Thomas to stay and watch her making love to her boyfriend - his best friend.

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Candy Clark & co in "The Man Who Fell to Earth" [1976 UK]

We're now getting down to the classics of the great Nicolas Roeg. His 1976 drama, "The Man Who Fell to Earth" can be rated as one of the all-time sc-fi classics in cinematic history, proudly occupying the same exalted podium as Fritz Lang's Metropolis, Stanley Kubrick's 2001: A Space Odyssey and George Lucas' Star Wars trilogy. The film's uniqueness stems from the ambitious manner in which it dissects contemporary society, politics, and humanity as a whole in a typically European fashion - droll, filled with irony, and approaching it from the protagonist - an extraterrestrial's viewpoint.




Storyline:
Based on a Walter Tavis novel of the same name, and adapted for screen by Paul Mayersberg, the film tells the story of an extraterrestrial humanoid who arrives on earth to help the few remaining beleaguered people in his home planet, which has turned into one big desert. The reasons for these are not given in the film (even if they go into some detail in the novel), merely stating lack of water as reason for his arrival. His people had known about earth for a while through intercepted radio signals and have come to gain intimate knowledge of its dominant species, humans. The plan is for him to amass wealth and power quickly with his advanced technology, and use it to build a spaceship to bring back the rest of the people, more importantly his wife and two kids. After landing in New Mexico, he assumes the name of Thomas Newton, and interestingly uses a British passport to identify himself. He soon embarks on a love affair with hotel chambermaid Mary-Lou, who also moves in to live with him. But his mind is restless, worrying about his family and resorts to alcohol. When Mary-Lou discovers his true identity, she finds it extremely hard to love him as before, and despite her efforts, they separate.

He succeeds emphatically in building his corporate empire, and also manages to build his spaceship. But the US authorities destroy it and take Newton captive for an undisclosed period of time. The reason for this, apart from the obvious desire to 'study' him after learning about his identity, is the fact that they were quite weary of allowing a single corporation to become so powerful as to pose a threat to the very existence of a government (Google take note). By the time Newton realises he is free again, all the people he knew had aged considerably, while he remains his youthful self. He is still wealthy, but could do nothing with it as he realises his family may no longer even be alive. Despite people betraying him, he could hold no bitterness, even offering to help them financially if they need. He's now a recording artist releasing songs with cryptic messages, which he hopes will one day be heard by his wife through the radio broadcasts that reach there. And the film ends with a drunk Newton passing off at a restaurant table while chatting with his former employee Bryce...




A true masterpiece:
When a creative endeavour cannot be bettered or replicated, either because of an artist's unique state of mind, or serendipitous circumstances surrounding its creation, in my view a masterpiece is born. And we are talking about a team of artists here. For a start, no one would even fund a project with such ambitious a scope these days - it is far safer to deploy CGI and work with a simple storyline, one that the impatient masses can sit through. There is so much going on here for a sci-fi film, using a variety of references, from Greek myths (Icarus) to Japanese folk art (Kabuki) and even Citizen Kane, it recreates the disorientation of anyone arriving at an alien planet superbly while showing our world as would be perceived by a visitor, warts and all.

Nic Roeg has a penchant for casting performance artists in films, like Mick Jagger in Performance, and Art Garfunkel in Bad Timing. Here, it's an already famous David Bowie making his film debut, who plays the eponymous extraterrestrial who fell to earth. Not only does he look like one, during those heady Ziggy Stardust days he also felt like one, relying on cocaine to keep him going. During the shoot of the film, David Bowie was simply being himself, and what an impact it had on the film..!

The superlative cinematography by Anthony Richmond adds an additional layer to the film's narrative. Coming from a cinematographic background, Nic Roeg has made the best possible use of widescreen - when I first watched this film, it was on TV during the 80's (i.e., full-frame), it was a pleasant surprise when I finally got to see it in its original aspect ratio. The editing is crisp with few dissolving transitions - the way I like it, as it reflects on the quality of the screenplay and direction. The film is also supported by a superb soundtrack that also features some sumptuous saxophone compositions by John Phillips that sadly are not available separately.

It may have a plethora of seemingly lecherous scenes and playful jokes, but it is an unapologetically bleak film, it won't leave you in tears of joy. But this multi-layered gem speaks the language of anyone who feels alienated, anyone who find the system driving their spirits down. It is a film as relevant today as when it was made, and therefore Highly Recommended Viewing..!




DVD info:
The DVD I have is the excellent 2-disc NTSC Criterion Collection, which comes with a superb remastered transfer and load of extras, including the paperback version of Walter Tavis' novel. It may not include an interview with David Bowie himself, but it comes with an insightful commentary from Roeg, screenwriter Mayersberg, and an interesting interview with Candy Clark who plays Mary-Lou. But this edition is out of print now, and the ones being sold are ridiculously expensive. But there's a recent Blu-ray from Optimum Home Entertainment (although Region 2) which appears promising, but not sure of any of the available extras. You can take a look at some comparisons here.
Amazon Blu-ray Link
Amazon Criterion Collection Link




Compilation: Candy Clark, Linda Hutton, Adrienne Larussa, Hillary Holland, and Claudia Jennings
I'd normally not brag about my compilations, but I must say I'm quite pleased with this one as it all falls in place neatly. It took a while but I think it was worth it.



Scene Guide:

• Nathan Bryce (Rip Torn) is your quintessential 'cliché' of a scientist, separated and spending most of his free time with his female students as young as his daughter. The first to feature is Linda Hutton - notice the parallels drawn between their sex-romp and the Kabuki theatre watched by Newton (David Bowie)! Followed by some cheeky dialogues repeated by two other student-lovers played by cute Adrienne Larussa and the bespectacled Hillary Holand - each comparing Rip Torn's member to their respective dads'..! :D
• Mary-Lou is a chambermaid, kind-hearted but blissfully common. She takes pity on Newton's frailty and falls in love with him, we see her first in the bath giving shy Newton a not-too-subtle invitation, and later in bed with him. Mary-Lou is played by the rather dishy Candy Clark - is it just me or does she really bear a vague resemblance to Stefania Sandrelli..?
• A frustrated Newton reveals his true self to Mary-Lou, enough for her to press the panic button and wet herself (naughty Roeg). She makes an honest effort to accept Newton for what he is - some revealing close-ups here (naughty-naughty Roeg)...
• An almost irrelevant scene this - we're shown how even the guys who work for the establishment essentially live a 'normal' life - we see Peters, possibly an FBI agent with his wife at the pool. The wife is played by Claudia Jennings.
• Time has taken its toll on Mary-Lou when she visits Newton after many years, who on the other hand has barely aged. Possibly the most erotic scene in the film, it is also telling in that while in the first part of the compilation, you find Linda Hutton 'shooting' pictures of her lovemaking and showing results from the self-developing film that Newton's corporation manufactures, here we have a different kind of shooting as Newton uses earth's technology - a handgun, to spice up their love session. Roeg's attention to detail doesn't go unnoticed with his strategic use of a middle aged body-double to portray a mature Mary-Lou..! :-)

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Amanda Plummer & Saskia Reeves in "Butterfly Kiss" [1995 UK]

Michael Winterbottom is in brilliant form in this 1995 neo-noir, "Butterfly Kiss" - about two Lancastrian women of contrasting character who meet and discover a harmony of sorts between them. But the hardboiled 'road-movie' is anything but easy-viewing - it is far too realistic for that, thanks to the exceptionally dark characterisation, and the extraordinary performances by its chief protagonists, Eunice (Eu) and Miriam (Mi).

Storyline:
Eunice, psychotic, unkempt, wearing chains around her body as some kind of penitence, scores through highway petrol stations looking for one 'Judith', and meets lonely soul Miriam, an attendant at one of the stores. It becomes obvious they're an odd couple - as much as Eunice is selfish and mean, Miriam is generous and kind, but they hit it off. By the time Miriam discovers Eunice has killed someone, she'd already fallen in love. She takes it upon herself to stick around with Eunice, and "make her into a good person".

Mr. Winterbottom purposely avoids revealing Eunice's past as that might seek to justify her despicable deeds - the objective of the film would be lost. It is clear however that Eunice is tortured by her past, and desperately wants to end it all - killing people because she feels angry, abandoned - by the world, and by God itself. Miriam on the other hand wants to be the one to 'rescue' Eunice, but gets infected with Eunice's bloody mindedness instead. It is interesting to note that all events in the film are shown as a recollection by Miriam, from a detached perspective, talking to the camera. It was ingenious of the director to have shot Miriam's narration in black and white - this could either be Miriam giving testimony to authorities, or a cinematic depiction of Miriam reflecting on her own conscience - he lets us interpret it our own way. But there's a telling comment from Miriam to the camera when she talks about Eunice, "...it's like the things she did, everyone wants to do them really... the difference is that she did it, you know... she wasn't scared."

Contrary to some perceptions, the film is not about lesbian love - that's merely coincidental - it is more about love and loss. Exceedingly well constructed with stunning albeit bleak cinematography, it is supported by an intelligent script, and an aptly chosen sound track mix that include the likes of Cranberries and Bjork. The screenplay and direction is flawless, and the actresses playing Eunice and Miriam - Amanda Pummer and Saskia Reeves respectively, fascinating. The American Ms. Plummer in particular gives a master-class in acting. This is also one of Michael Winterbottom's finest films, and therefore, Highly Recommended Viewing..!

Amazon DVD Link (a good deal still going)




Compilation: Amanda Plummer and Saskia Reeves
Made from the best blog-related scenes, but I've also included some additional footage which you may also find interesting.



Scene Guide:

• Miriam invites a homeless Eunice to her home, who quotes the Bible as she introduces herself to a shocked Miriam and her grandma.
• The only erotic scene in the film where Eunice gives Miriam her first experience of sexual intimacy.
• The following morning, Eunice shoots off with an unfortunate van driver, who gets unwittingly drawn into her web. Some extra footage.
• Miriam catches up with Eunice and they get into their next victim's car - a door-to-door vacuum cleaner salesman. Eunice entices him with the prospect of a threesome, and they end up in a hotel room. Unpleasant scene towards the end.
• Eunice asks Miriam to release her from her chains. Free at last.

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Theresa Russell & co in "Bad Timing" [1980 UK]

The 1980 film, "Bad Timing" is arguably the last masterpiece by the great Nicolas Roeg. He has of course made some fine films later, but none of them reach the heights set here, be it the characterisation, direction, or the editing - one can devote entire articles to each of the above features - so much to see and appreciate. Add to this Anthony Richmond's excellent cinematography, the eclectic soundtrack, and not least the superlative performance by actors playing the main characters - Harvey Keitel is brilliant, singer/songwriter Art Garfunkel sincere, and Theresa Russell captivating - you can see they were all 'a team' while making this film. Not often do I find it hard to describe how good a film actually is - even after second viewing, new information keeps sinking in.

About the film:
It's essentially a study of two characters with conflicting interests, in love - in retrospect they shouldn't have even met. Milena, a young American - married but carefree, meets Alex - a judgemental, possessive and older compatriot, and a visiting lecturer of psychoanalysis. Set in the Austrian capital Vienna, the film captures their mutual obsession and contradictions, and the tragic consequences. And this is done beautifully using short and sharp vignettes, flashing back and forth in time, like memory, as if 'remembering someone from the past'. Mr. Roeg gives an interesting explanation in the DVD extras for the reason behind this unique style of his - bewildering at times with those splintered edits, but which all makes perfect sense towards the end. He tells a story so succinctly, feeding audience just enough information at any given time to keep their attention - I reiterate what I mentioned in an earlier article. The film also uses symbolism to embellish its character study, notably through book titles and artworks (aptly Viennese, like Gustav Klimt and Egon Schiele). Surprisingly, the film with such a controversial subject was produced by the rather conservative Rank Organisation, even if they refused to put in their gong man logo during the film's opening credits.

I'd readily recommend the NTSC Criterion Collection DVD over any other version for the sheer quality of transfer and the loaded extras. There is an absorbing interview with the great man Nic Roeg himself, and also some candid thoughts from his ex-wife and star of the film, Theresa Russell. She gives an outstanding performance as the wild orchid Milena - she's also incredibly cute and sexy! This was the first time the twenty one year old Russell had worked with Roeg, and they obviously hit it off, on and off stage. Needless to say, Highly Recommended Viewing..!

Amazon.com DVD Link




Compilation: Theresa Russell, Ellan Fartt, Dana Gillespie, and unknown actress
It's impossible to give a scene guide for this compilation that would make sense, as each of them is inter-cut with flashbacks and flash forwards - you just have to watch it. I've also inserted a couple of non-nude but sexy scenes in between, notably that of Russell and Garfunkel scene in the car when she (unintentionally) spills the schnapps she was drinking over her dress - the dialogue was not in the script but used nevertheless, and the shocked Garfunkel's expression in it is priceless. I've also edited out a few seconds of nudity that could have given too much of the plot away, especially in the final scene when Milena is raped whilst approaching coma.






Bonus Scene: Clips of Deleted Scenes from the DVD extras
A couple of deleted scenes here - they don't have sound, and have also not been remastered, for obvious reasons.






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